Skip to main content

THE ROLE AND FUNCTIONS OF THE PREAH NEANG DEVI


We know that a Preah Neang Deví can be the god’s sakti, his equivalent, or even his female energy. This energy is the very essence of the god, which represents all that exists in nature: inanimate objects, human beings and animals.

We must give credit to the Indian philosopher Isvarakrsna for studying the Samkhyá-which means theory or analytical thinking - on the existence of things, human beings and animals. Taken as a whole, these notions have given rise to the two principles of Prakrti and Purusa.

The Prakrti is like a body that provokes a reaction, a sort of catalyst that acts as a creative power. The Prakrti possesses three qualities, sattva, rajas and tamas. It is considered to be pure and natural, which means not altered. It is classified in the ‘woman and female’ category, and in identified with the earth.

The Purusa is the spirit, the inactive principle that cannot create. The union of the spirit and the Prakrti causes life and pain. It is classified in the ‘man and male category’, and is considered to be the sunlight.

Based on this reasoning, it appears that all life forms (human beings, animals and all living things in nature) come from the combination of these two types of matter. When the earth and the sunlight come into contact and unite, they create life, which is idealized in the form of deities. All that exists in nature – water, earth, fire, wind, human beings, and animals come from the union of male and female. Thus, these two opposing principles are united.

This indicate that a god is both the Prakrti and the Purusa, but the Prakrti is the god;s sakti and the Purusa is the god itself. The Prakrti and the Purusa are ambivalent and, as such, they express the concepts of ‘good-bad’, ‘construction-destruction’, or ‘saviour-punisher’. As a result, the god’s sakti and the god itself are equally powerful. They are both evil and virtuous.

With this in mind, it becomes possible to study the role and duties of the Preah Neang Deví.

Popular posts from this blog

Kampong Preah style (706-800)

This art form reflects a dark period in the history of Cambodia caused by the dislocation of Tchen-la into two kingdoms. The style of Kampong Preah is similar to that of Prei Khmeng, although an increasing number of statues are carved in a plainer fashion, in particular the folded edge of the sampot and the lengthwise fold. Figure11. Durga(?) Unknown origin H: 141 cm Ka. 318 The presence of the supporting arch, evidence of which can be seen in the marks at the back of the head, and the two-armed shoulders indicate that this deity is Durga. The almond-eyes, sharp curved eyebrows, breasts, folds beneath the breasts, slender hips and, lastly the cylindrical mitre are characteristics of a classic Kampong Preah style sculpture. The simplified fold and pleats of the garment show great elegance. The face expresses natural beauty, with its curved upper lip and dimple in the chin. On her forehead, that the statue has probably already been consecrated. Fig...

Prei Khmeng style (635-700)

Figure4. Durga Tuol Kamnap, Krasaing Char, Ponhea Lieng, Kampong Trabek, Prey Veng H: 97 cm Ka. 1631 B. 819 B. 42, 7 Acquired by the museum on 22 April 1953   All works of art, whether they are made of stone or bronze, are almost always simplified and stylized. The item of clothing worn by this Durga (Ka. 1631) shows pleats between the legs, suggested by softly carved strokes and lines radiating from the knot. The presence of the four arms, the upper one holding a conch, proves that it is a statue of a Durga. Standing stop a plinth featuring a buffalo head, the deity is slightly bent on one hip. She displays many signs of her beauty: slender hips, breasts close together, which each nipple represented by two concentric circles, folds under her breasts and three folds under her neck. She has a long face that shows intelligence and strength, rounded cheeks, slightly prominent eyes, perfect arch of the eyebrows and long earlobes. Here, the artist has dressed...

Preah Ko style (875-893)

Figure13. Rajendradevi or Gauri Western sanctuary, southern side, Lolei temple, Roluos, Siem Reap H: 150 cm Ka. 1645 B. 289 B. 42, 4 Acquired by the museum in October 1920 The Khmer language inscription carved on the pier of one of Lolei temple’s sanctuaries tells us that King Yasovarman erected statues of Siva and his wife as representations of his maternal grandparents. The sculpture of Siva’s wife located in the western sanctuary is commonly called Rajendradevi. But according to another inscription, written in Sanskrit, this deity is Siva’s wife Gauri, goddess of beauty. Some researchers have suggested it might be a 12 th copy of Queen Rajendradevi. The artist copied the original 9 th century-style of the body and followed 12 th century fashion for the hairstyle. Indeed, the diadem and the chignon cover are similar to 12 th century designs. The cylindrical chignon cover is adorned with trabak chhouk, or lotus petals, in five concentric and decreasing ...